Macbeth: a True Shakespearean Tragedy

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William Shakespeare is widely known as the most influential writer of English language. One of the reasons for his importance is because “being great, no one age, no one person can see all of him” (BURGESS, 1974, p. 73). There is always something new in Shakespeare. His outstanding achievements in such different genres as comedy and tragedy are remarkable and he has created characters that are reference in literature and drama history. The exceptional range of The Bard’s works makes it difficult to define them and even a closer look at most of his plays will not expose things in black and white. Nevertheless, one of Shakespeare’s most admirable tragedies is fairly clear, but still, there is an ambivalent aspect to it, carried out by its main characters: a tragic hero and a villain in the same person; an apparently cruel woman that finishes being consumed by her own guilt. Their actions are truthfully appalling, but the audience may not help to feel compassionate by the afflicted state of their souls. All set in an atmosphere of darkness and darkness is probably the best word to talk about Macbeth, the last and perhaps the most obscure of the four “great tragedies” (KERMODE, 1997, p. 1355). But in order to understand the elements that make Macbeth, it is important to analyse the concepts of tragedy. The classical definition of tragedy comes from Aristotle, who states that tragedy is a representation of reality through a complete story. It does not rely in narrative, but in dramatic form and it raises the emotions of fear and pity, promoting a catharsis of them (ARISTOTLE; ACKRILL, 1987, p. 543-544). Additionally, he talks about the tragic hero, a great man who experiences change through misfortune. Aristotle’s theory is suitable to the plays available to him at his time, but it is not enough to embrace all “types of serious plots ending in a catastrophe” that
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